Can I get a witness? Viewing mayfield brooks at JACK

Performance artist mayfield brooks
(photo: Amar Puri)

Letters to Marsha with Viewing Hours (a diptych)
by mayfield brooks
JACK
January 30-February 1

In the tiny storage room, where the pungent aroma of earth and rose petals prickles your nostrils, I stand in a single line of people skirting the edge of a funereal bier covered in colorful decaying foliage. I see a bare foot sticking out from this cover, even as I hear mayfield brooks' voice on a looping recording (calling for "a witness") and tamp down a feeling of being trapped. I notice a thin, dry stalk, its end lightly poking the sole of brooks' foot, and I wonder if brooks feels it, is irritated by it. I wonder if I shouldn't pluck it away. But I dutifully stand, like everybody else, listening, looking in this solemn enclosure. Finally, I carefully--so as to not startle brooks or draw anyone else's attention--reach for the stalk and pull it off brooks' flesh.

In small groups, the audience will cycle through that opening viewing room then gradually assemble in a larger but still intimate space nicely set up to encourage comfort and seating choice. This feels more like a funeral parlor than a performance space. Merging two of brooks' works, Letters to Marsha with Viewing Hours (a diptych) is every bit as much a memorial service, a participatory ritual, a raucous channeling and a party with festive cakes (by Susannah Simpson) as it is a performance.

Attend and you will have ample time to gaze or move around the space and commune with the dead (brooks' and yours). Inspired primarily by the late Black gay activist and Stonewall veteran Marsha P. Johnson, this evening introduces us to brooks' ongoing practice of writing heartfelt letters to this role model and would-be mentor and gently suggests we take up a similar practice with our own ancestors of blood or mind.

Will you also see strong, compelling performance in this space? Oh, yes. brooks' collaborating team--a water bearer, a tea maker, a florist, a guide and various viewing hours caretakers--establishes and eases us into the fluidity of the space, but brooks rules the space and gives a master class in commitment, responsiveness, fervent aliveness.

The evening, nearly two hours of sensory richness, is well worth the sometimes frustrating task of navigating subway travel to, from and around Brooklyn. (As of last night, the "C" in C train stands for "cusswords.") Maybe just give yourself at least 15 minutes more than you think you might need to get there, then don't fret because the opening of the piece is experienced in shifts. Relax with some tea in the lobby.

Technical Director/Creative Consultant: Niko Tsocanos

Curated by Stacy Grossfield as part of her IMAGES // LANDSCAPES series and JACK's Reparations365 series.

Letters to Marsha with Viewing Hours (a diptych) continues with 8pm performances tonight and tomorrow. For information and ticketing, click here.

JACK
18 Putnam Avenue, Clinton Hill, Brooklyn
C to Clinton-Washington or Shuttle to Franklin Avenue

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DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

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Mariana Valencia in "AIR"

Mariana Valencia in her 2019 solo, Bouquet
(photo: Madeline Best)

AIR
by Mariana Valencia
Performance Space New York
January 9-11, 16-18

Very early in Mariana Valencia's new solo piece, AIR, she half-drops into a space of privacy with a person who has come out of the audience to sit in front of her, back turned to the rest of us, and assist her as she makes a change of clothing. You can only see Valencia's steady eye contact with this aide, who is Black, and mostly only hear Valencia's end of whatever verbal exchange might be going on, since the other person, in her few responses, is very soft-spoken. Valencia has already shown herself to be a self-possessed, warm and wry presence and continues to do so throughout this segment. So she easily holds our gaze and interest in place even though her attention is lavished on her helper. What a moment and what a performer--at once, holding us at bay, gathering us in and suspending us between worlds!

Truth be told, she had me at Lotería, the oversized, cream-colored sheet of paper she distributed to each of us (instead of the usual program notes, which we'd get on the way out) after we took our seats. Inspired by the popular Mexican card game of the same name, this sheet, printed in green, served as a clever introduction to a variety of popular culture figures of Mexican descent--from tv astrologer Walter Mercado to Tejano music star Selena to film actress María Félix--cited as major influences on Valencia's life and aesthetics. The first touch of this sheet of paper took me out of "downtown" and all that means as I believe it was supposed to do. It opened up a sense of another influx of energy, a source of creativity that is most often unknown, ignored, devalued and certainly unexpected in these climes, and that felt really, really good.

AIR asks us to consider the what-if of putting kids on stages instead of cages. Its random cinder blocks and white plastic crates suggest an environment of denial--I invite you to contemplate both uses of that word--that diminishes us all. And its prancing, spritely performer uses a droll sense of humor to persuade us how effortless it can sometimes be for marginalized people to absorb and slip into the codes of another culture--from picking up how to say "hello" in England to switching from butch to femme clothes in a Popeye's restroom on your way to a fancy wedding. It's a celebration of a kind of genius and maybe a subtle lesson for us all.

Lighting: Kathy Kaugmann
Sound Engineering: Jules Gimbrone
Music: Jazmin Romero

AIR's last performance happens at 7pm this evening. For information and tickets, click here.

Performance Space New York
150 First Avenue (between 9th and 10th Streets), Manhattan
(map/directions)

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DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

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The Joyce's American Dance Platform: UBW and DCDC

Chanon Judson of Urban Bush Women
(photo: Gennia Cui)

American Dance Platform: Urban Bush Women and Dayton Contemporary Dance Company
The Joyce Theater
January 7 and 12

If it's true what they say about how viewers' mirror neurons respond when audiences look at dancers moving, and you attended The Joyce on Tuesday night for American Dance Platform, your mirror neurons likely got a serious workout. Evidence for that, from me, is how exhausted I felt the next morning as if even every toe nail and eyelash I possess were worked to max from watching Urban Bush Women (UBW) and Dayton Contemporary Dance Company (DCDC), two troupes of extraordinary physical daring and power. More evidence came from the way the opening night audience responded in the moment. I'm not talking about the expected, and justified, standing Os and rousing cheers; I mean those very Black mmmhmmms, the audible sighs, the cries, the groans and other unrestrained vocalizing that greeted DCDC dancers killing it during Abby Zbikowski's Indestructible (2018) with apparently zero fear of bodily wear-and-tear. If, in a sense, we all danced along with UBW and DCDC as we witnessed them, I await my Bessie nomination.

With the very recent departure of Du'Bois A'Keen, UBW is back to being an all-woman company. My favorite on the evening's bill (to be repeated this coming Sunday) was UBW's Women's Resistance, an excerpt from les écailles de la mémoire (Scales of Memory) with choreographic direction from founder Jawole Willa Jo Zollar and Germaine Acogny with additional choreography from eight former and current UBW members. It takes a village. And, indeed, looks like a village...of disciplined women warriors demonstrating their earth-sprung, spring-loaded battle-readiness within a sonic environment where shredding mechanical rhythms suggest both how formidable these women are and how menacing are the forces they are up against. UBW paired this ensemble with Zollar's 1989 I Don't Know, But I Been Told, If You Keep On Dancin' You Never Grow Old, which now includes segments from visible (2011), made by nora chipaumire and Marguerite Hemmings. And, yes, there is a definite connection and throughline--similar resourcefulness, ingenuity and high skill even in the midst of play that some might unwisely consider trivial.

UBW performers: Courtney J. Cook, Melissa Cobblah Gutierrez (Understudy), Jasmine Hearn, Chanon Judson (Co-Artistic Director), Love Muwwakkil, Samantha Spies (Co-Artistic Director), Elaisa van der Kust, Makaila Ware

Taking on Indestructible, Ohio's venerable DCDC--founded in 1968 by Jeraldyne Blunden and now directed by her daughter, Debbie Blunden-Diggs--was right in tune with the night's audacious mood. The main difference is, with Abby Z high-impact, daredevil choreography, neither you nor the dancers get a chance to chill. So, again, those mirror neurons.... Add occasional blasts from the electronic, industrial hip hop band Death Grips. The evening wrapped up with DCDC's excerpt from Donald Byrd's The Geography of the Cotton Field (2014) which paints, with an elegant hand, a canvas at once sweepingly abstract and epically specific.

DCDC performers: Devin Baker, Qarrianne Blayr (Associate Artistic Director), Breanna Dorsey, Alexandria Flewellen, Michael Green, Steve Lamblin, Robert Pulido, Elizabeth Ramsey, Nile Alicia Ruff, Nabachwa Ssensalo (Actress), Quentin Apollovaughn Sledge, Matthew J. Talley, Countess V. Winfrey

One show remains--this Sunday at 7:30pm--but tickets are sold out.

The Joyce Theater

175 Eighth Avenue at West 19th Street, Manhattan

(directions)

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DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

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